How Typography Elevates Design from Good to Great (Masterclass Part 2/3)
FULL TRANSCRIPT
this video is going to dive into the
second skill that you as an aspiring
designer must Master to go from good to
great and we're going to learn it at the
hands of Emmy award-winning designer
Christo in the second part of this
master class series if you missed the
first part go back and watch that now
but for those of you that already
watched it we're going to do a deep dive
on topography and why that's such an
important skill for you to master we're
talking about designers right so you
said how do you go from being an average
designer to a great designer and I'm
going to tell you right now you are like
Superman or Superwoman there's not a lot
that you can't do but you do have one
Kryptonite and if this is your
Kryptonite you're gonna fall apart and
your Kryptonite is typography you know
I'm gonna say it typography
there are some misunderstanding about
what typography is people who design
logo types sometimes refer to themselves
as typographers that's not correct in
typographers are not logo type designers
these are very different skill sets so
logo type designer is concerned about
the individual combination of very
specific number of letters together to
create one expression they're not
worried about if the letters were
reversed or in different order whatever
it is they don't care about that and so
they'll spend a lot of time designing
the perfect alphabet for five or six
letters that's it and in that exact
sequence a typographer in contrast
doesn't design the typeface what they do
is they manipulate the arrangement and
layout of type it's Point size its color
its weight in order for someone to
understand ideas it's arrangement of
letters and words on a screen or on a
page or an app or something like that to
communicate ideas and sometimes the idea
is to just capture your attention and so
some of the traditionalists who don't
understand expressive typography say
like well I can't read that if it's
concept if it's purpose is not for you
to read but it's stopping your tracks to
get you to decipher it then it's met its
goal so typography at least in my
instance has taught me everything about
design and they're so famous Massimo
vignelli quote that says if you can
design one thing you can design
everything and I really believe that so
if typography is your Achilles heel is
your Kryptonite it means that you're
uncomfortable with this there's good
news for you here the good news is if
you go through a series of rigorous
exercises things that we teach and
things have been taught to many
designers many generations before from
the Basel School in Switzerland then you
will learn this thing and it's painful
to learn but once you learn it you can
master design and if they say that
content is King which a lot of people
say well then contrast is Queen learning
about how to manipulate contrast in
point size like big and small in texture
smooth and rough in weight like extra
bold and thin understanding these
relationships a lot of negative space
and deep heavy concentration of type on
a page learning how to use this
translates into every facet of design
not just 2D design with type but also
three-dimensional design once I learned
how to design a poster I could design a
room I could do interior design I could
design furniture and all these things
I've done anything that I can think of
because I understand the formal
relationship that exists when you start
to put things on a page or on the screen
and this to me is a ginormous unlock you
cannot in my opinion be a great designer
if you don't understand typography what
I love about what you just said and my
key takeaway around this is you said the
manipulation of the arrangement of
letters and words for people to
understand the message at the core of
that for me is you are not just making
something pretty you are making
something that effectively communicates
what you're trying to convey what you're
saying is if someone misses that Mark
they're probably just good and not great
am I hearing that right yeah in my
opinion you cannot be a great graphic
designer if you're not a great
topographer too and in fact if you look
through the design annuals in topography
and other International design
competitions you almost always see the
people who win are the best typographers
in the bunch they understand space they
understand color and texture and
contrast in creating tension and
releasing tension they know how to
create primary secondary tertiary reads
and they also know how to do very
beautiful expressive typography as well
we recently had James Victoria on her
show and he does something totally
different which is something that many
of you are going to say well Chris I
watched an episode now you're
contradicting yourself no you my friend
are not paying careful attention enough
right if you think it's a contradiction
James does hand-drawn letter forms and
he takes it to an art form where his
scribbles his brush marks and his
personal handwriting become so beautiful
that they become art itself just the way
that somebody is able to put ink on a
page I kind of draw a parallel to
Chinese calligraphers and if you've seen
them work it's a thing of beauty they're
using ink on a page and they don't have
two shots at this there's no white
there's no building up they just draw
with The Strokes and calligraphers
master calligraphers an artist can
recognize the skill level from one
person to another who's put in 10 20 30
000 hours of practice versus someone who
just starting they can see that so James
primary communication thing isn't about
whether you can read this easily or not
he wants you to work at it to decipher
the meaning or the words that he's drawn
is not illegible but it does require
some work but in that instance you stop
and you try to figure it out and when
you can figure it out a smile happens at
least in your mind now James is not
writing the Declaration of Independence
from the Bill of Rights he's usually
using one or two words or an expression
idea and that's all that's on his
posters and his design and he's
designing this for book covers he's
designed this for posters he's not
designing this for you to read a
manuscript because it would require too
much mental labor you know it's too
intellectually demanding for you to
figure out on any kind of long-term
consistent basis so you have to kind of
weigh what is the intention and the goal
of what it is I'm designing and mix that
with the right approach for the most
part 80 to 90 of what you do is going to
be legible functional typography but if
you follow all the rules it's going to
be really really boring even Massimo
vignelli will talk about this one of the
same quotes is something like grids are
like underwear they're meant to be used
but not seen so so many people like put
grids on everything and it's like yeah I
get it you understand Swiss design
boring you have to learn how to use all
the notes and sometimes the space in
between the notes is the music I'm
borrowing from Massimo again damn that's
a hell of a quote about the unders he's
good at quotes I mean there's a whole
mass of finale Canada that I hope to
learn all of them I love that it's a
conversation and what tools and methods
non-verbally or verbally like I think of
things in communication are you using to
convey the message like with James it's
the whole design is meant to be a mind
game once it clicks you're like oh my
God I'm in the know this is no longer an
inside joke right versus what you're
talking about where you're doing book
covers or manuals or whatnot and there's
like you have to guide the person with
the type and I think that's just
incredible that concludes part two of
this and I hope you find this to be
enlightening in terms of how important
typography is to you as a designer if
you want to upscale I highly recommend
you watch this video right here where
you can actually see me working through
the design problem and see how these
principles apply in real time I hope to
see you sometime soon take care
everybody
foreign
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